• 수완나부미
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• 제15권2호
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• pp.155-185
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• 2023

This paper aims to identify the shifts of masculine domination, illuminating Vietnamese men and women's actual position in society through surveying the mixed and hybrid characteristics described in the feminist texts in the early twentieth century. This paper concentrates on the feminist writings of the two exceptionally male intellectuals Nguyễn Văn Vĩnh (1882-1936) and Phan Khôi (1887-1959). in order to implement these goals, the paper first examines the popular phenomenon of ventriloquism among Vietnamese male intellectuals, whose dominant attitudes may still be unveiled in feminist texts. Secondly, the paper focuses on surveys of men's direct discourse in constructing the model of women's liberation. From these two contents, this paper answers the following questions: Why have Vietnamese men become feminists? What were the causes, purposes, and effects of this phenomenon? To look at the nature of Vietnamese feminism, this paper will show the shifts of masculine domination in Vietnam as another form of protecting men's privileges. All analyses in this study will ground discussion on the economic, political, and social contexts and conditions of Vietnam in the early twentieth century.

• 수완나부미
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• 제14권1호
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• pp.133-160
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• 2022

This paper examines narratives of women's marginal position in Bao Ninh's Short Stories and Svetlana Alexievich's Unwomanly Face of War from a feminist narratological approach. In analyzing voices of marginalized women, direct and indirect descriptions of women's beauty and pain, and private-public narratives of women's love stories, this paper aims to identify presentations of women's real authority in the text written by a male author, Bao Ninh, and in the one by a female author. The paper argues that juxtaposing these texts reveals an overturn of the traditional conception of sexual and gender differences. Specifically, distinguishing between male/female discourse does not show powerful /nonpowerful language, but recognizes the real authority of each type of discourse based on sexual differences. The writing also illustrates that masculine language becomes powerless and deficient in the women's world; meanwhile, in writing about herself, woman establishes a type of a powerful feminine discourse, which blends both emotional, enthusiastic, and gossipy characteristics of female language and direct, rational, and strong ones of male language. Thus, the feminists' radical segregation on male/female discourses to overturn masculine authority and create a language for women at par with men has been clearly shifted when comparing the two writers' texts based on the juxtapositional model of the comparative literature.

• 영어영문학
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• 제56권5호
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• pp.947-971
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• 2010

Anna Letitia Barbauld's poem "Washing-Day" (1797) has sparked a variety of feminist critical endeavors over the past two decades. While many feminist literary critics try to salvage the poem as a successful tongue-in-cheek riposte directed at the male dominant literary world, more rigorous Marxist feminists accuse Barbauld of being limited by her own middle-class woman's view on women's domestic labor. Legitimate as they may be, these readings fail to elucidate Barbauld's place in a larger literary and intellectual discourse during the eighteenth century. In this paper I read "Washing-Day" as a woman's georgic, a genre or mode concerned with agricultural labor, the public value of which was highly recognized in eighteenth-century England. Alluding to canonical texts by writers like Shakespeare, Milton, and Pope, Barbauld's "loaded lines" in mock-heroic form create a space in which the women's domestic labor of washing interrupts men's daily routines and disrupts their poetic assumptions. While she makes women's work visible, Barbauld also addresses its quintessential nature. Women's work is affective labor; women have to labor physically and mentally to produce the desired domestic comfort. By allowing the image of the soap "bubble" to echo with many "bubbles" in other writers' texts, from the soap bubbles the narrator used to play with as a child to the hot-air balloon "bubble" of the Montgolfier brothers, Barbauld pleasantly equates work and day-dreaming, men's toil and children's play, and finally public, scientific, and recognized labor and private, domestic, and imaginative activities.

• 영어영문학
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• 제55권5호
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• pp.885-906
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• 2009

In terms of class, race, or gender, critical literacy takes seriously the problem of inequality and injustice embedded in texts. Texts are considered as tools that are used for maintaining the status quo by constructing and communicating our identities, particularly in relation to others. While reading texts and identifying our roles in society, some feel empowered, and others, marginalized. Thus we need to challenge the characterization and the message included in those texts by asking problem-posing questions. In this paper I have demonstrated how to read and teach four versions of "Snow White" from a critical literacy stance. By the use of problem-posing questions, students are led to discover that one of Grimms' fairy tales, the original version of "Snow White," was written from the perspective of men with power, thus marginalizing women in general, as well as the seven dwarfs. Through a critical analysis of Snow White's personality, the typical theme of fairy tales - good is rewarded while evil is punished - should be challenged. In the animation, Snow White and the Seven Dwarfs, power is given to the marginalized people in the original, the seven dwarfs and women in general. In "Snow Night,"a feminist short story, women in general are empowered while men, who should be judged by their looks, are powerless. "Snow-Drop"reminds us of the original, but challenges stereotypes, prejudices, and the theme inherent in the story. In those three stories many parts from the original are rewritten from the perspectives of the marginalized, but still some people are described prejudicially. So students should be guided to write another story from a new perspective. When those four works were taught with problem-posing questions in a university, this approach proved to be quite successful: most students acknowledged the effectiveness of critical literacy in teaching literary works.

• 영어영문학
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• 제60권2호
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• pp.269-293
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• 2014

Written as her last collaboration with the Provincetown Players, Susan Glaspell's The Verge is an exceptional play in that its formal experiment and modernist theme are clear of her general modernist ambivalence which combines a uniquely American and feminist expression of the modernist spirit with rather conventional forms. Following critics' brief and generalizing comments on the play's protagonist embodying modernist formalism and alienation, this paper offers a full and concrete survey detailing the tenets and the slogans of Modernism inlaid in the play. Its main argument is that Glaspell strategically deployed the metaphysics of egoism, anarchic hostility to the collectiveness of bourgeois society, and formalist preoccupation in Modernism in representing a female egoist's longing for a new order of society, illustrating an intersection between Modernism and feminism. It concludes that The Verge is an extremely rare case of modernist literature where a play, allegedly the least modernist genre of all according to Christopher Innes, exemplifies the "eloquent critical acts entangled in the creative work" which Michael Levenson lists as a distinct feature of modernist texts.

• 한국콘텐츠학회논문지
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• 제18권9호
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• pp.510-520
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• 2018

본 연구는 이성애규범주의를 기반으로 하는 사회문화적 맥락 내에서 이성애여성이 남성동성애만화를 수용하는 현상을 여성심리학 관점에서 고찰하였다. 먼저, 남성동성애만화의 국내 전개 과정과 확산 현황을 탐색하였다. 다음으로는 남성동성애만화의 장르적 특성에 대한 쟁점, 남성동성애만화 독해의 심리적 기제와 과정, 그리고 남성동성애만화 수용의 기능과 효과를 논의하였다. 이론적 분석틀로서 고전적 정신분석학을 출발점으로 하여 주요 페미니즘 이론, 퀴어이론, 그리고 Huizinga의 호모루덴스 개념을 비판적으로 채택하였다. 연구결과를 보면, 남성동성애만화는 이성애여성을 위한 로맨스로서 영원한 사랑과 평등한 애정관계라는 소망을 성취해주는 판타지로 장르화 된다. 이성애여성은 남성동성애만화를 통해 이성애가부장제로부터 심리적 탈맥락화를 실현하며, 텍스트 속 캐릭터와 분리되어 관음적 욕구를 채우기도 하고, 또는 젠더전복적 동일시를 통해 이분법적 성별 체계를 교란시키는 시도를 하기도 한다. 이러한 심리적 과정은 성 엄숙주의에 도전하는 유희로 간주될 수 있으며, 궁극적으로 여성의 성적 주체성에 대한 자각을 강화시킨다고 하겠다.

• 대한지리학회지
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• 제47권4호
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• pp.554-567
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• 2012

2000년대 들어와서 한국의 사회지리학은 다양한 이론과 연구 주제들을 다루면서 상당한 발전을 이룬 것으로 평가된다. 이러한 평가는 우선 이 시기 여러 종류의 <사회지리학> 교재 발간을 통해 확인된다. 그리고 이론적 논의로서, 자본주의 경제의 신자유주의적 지구-지방화 과정은 이에 대한 정치경제학적 분석을 추동했으며, 정보통신기술의 발달, 외국인 이주자의 급증, 지구온난화와 같은 환경문제, 여성의 참여와 권리 신장 증대 등은 각각 정보사회(도시)이론, 다문화주의 및 초국가주의, 그리고 정치생태학과 환경정의, 페미니즘 등에 대한 관심을 증대시켰다. 이 논문은 2000년대 한국의 사회지리학에서 이론적으로 논의되고 있는 이러한 주요 논제들에 관해 검토하고, 한국의 사회지리학의 발전을 위한 간략한 논평을 제시하고자 한다.

• 영어영문학
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• 제57권2호
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• pp.339-365
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• 2011

Charlotte $Bront{\ddot{e}}^{\prime}s$ novel Jane Eyre has long been doted on as one of the canonized texts of British literature since its publication. Seemingly, this romantic novel has nothing to do with plantation based on slave trade. However, paying a keen attention to the fact that Jane's enormous inheritance results from wine plantation at a colony, this essay re-interprets Bertha's drinking and madness as evidence of imperialism. For the porter/jin Bertha and Grace Poole enjoy might have some suspicious connection with wine, the very root of Jane's great expectations. Jean Ryes' Wide Sargasso Sea, writing Jane Eyre back, records Bertha as "a white resident of the West Indies, a colonizer of European descent" (326). However, Jane Eyre, in my interpretation, describes Bertha pretty much as a black Creole. At any rate, the view that the white West Indians are tainted by miscegenation proves contemporary racism and is reflected in the text through Bertha and her mother's intemperate drinking and madness. Drinking and madness are stigmatized as the evidence of the so-called "bad blood"; embodying the stereotypes of drinking, madness, and sexual corruption, Creoles, the very inescapable product of imperialism, provide a convenient excuse for justifying imperialism for purity, civilization, and moral cleanness. In this way, Jane Eyre needs to be re-interpreted politically and historically in the context of colonialism. British imperialism pursues a tremendous amount of profits through grape plantation and wine trades; however, it cleverly leaves in the colony the associated images such as intemperate drinking and madness. Bertha, transferred from Jamaica to Britain, takes in these negative images of "savageness." Transcending the narrow confines of feminist criticism obsessed with doubling between Bertha and Jane, this essay, accordingly, reads Bertha the prisoner in the attic as the captive for perpetuating imperialism. This reading hinges upon interpreting Rochester and St John as colonizers bearing the so-called "white men's burden" to cultivate and civilize savages much like crops such as grapes and sugarcane in the colonial plantation.

• 대중서사연구
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• 제25권3호
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• pp.349-383
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• 2019

본 논문은 제니스 래드웨이의 『로맨스 읽기: 여성, 가부장제와 대중문학』(1984)을 중심으로 로맨스 연구의 의미와 과제에 대해 고찰했다. 이 책은 문화연구와 문학연구를 조합하여 여성독자들의 로맨스 독서의 의미를 고찰하고 로맨스 텍스트를 분석한 점에서 지금까지 대표적인 로맨스 연구서로 손꼽히고 있다. 제니스 래드웨이는 여성독자공동체를 대상으로 로맨스 독서 행위의 의미를 실증적으로 고찰했다. 즉, 설문조사와 심층면담을 토대로 여성들의 로맨스 독서가 부담스러운 가부장적 일상으로부터 벗어나 탈출의 해방감을 추구하며 정서적 구원을 안겨주는 '보상문학'이라는 점을 밝혀냈다. 여성들이 선호하는 로맨스는 '만남 → 시련 → 회복 → 해피엔딩'이라는 4단계와 13개의 서사단위로 구성되어 있다. 또한 항상 미성숙한 여주인공의 정체성 불안에서 출발하여 여성의 능력으로 배려 깊은 남자로 변모한 남자주인공에 의해 여성의 본래적 가치를 인정받는 행복한 결합으로 끝을 맺는 공식을 유지한다. 따라서 로맨스는 '여성 유토피아적 판타지'를 추구하며 여성을 가부장제와 화해시키는 역할을 담당한다는 것이다. 당대 페미니스트 비평가들은 이런 주장에 대해 신랄하게 비판했다. 그러나 로맨스독서는 '여성적 읽기'이며, 로맨스는 여성의 삶과 가부장제의 함수관계를 그린 문학이라는 점을 공유한다. 다만 누구의 관점으로 볼 것인가, 여성적 유토피아의 판타지가 무엇인가에 관한 관점의 차이를 보일 뿐이다. 최근 들어 여성들의 삶의 조건과 여성독자들의 의식과 상상력이 빠르게 변화하고 있다. 이에 따라 여성 유토피아적 판타지도 이전과 현격하게 달라지고 있다. 그럼에도 가부장적 체제 내 여성의 삶은 여전히 모순적이며, 여성들의 모험적 상상력은 서브컬쳐와 같은 대안공간에서 펼쳐지고 있다. 이런 점에서 로맨스란 무엇인가, 아울러 로맨스 연구의 의미와 과제는 무엇인가라는 질문은 여전히 우리에게 남겨진 숙제이다.